Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and the Studio System. New York, N.Y.: McGraw-Hill Humanities/Social Sciences/Languages, 1981. Print.…
2. William Strunk and E.B. White, The Elements of Style. Longman, 1999. ISBN-13: 978-0205309023. ISBN-10: 020530902X. Edition: 4th. Paperback.…
Gilles de Rais was one of the first “modern” serial killers even though he was alive during the 15th century. Experts believed that he killed anywhere from 140 to 800 children (DeBoer., 2001). He was also one of the lieutenants under the infamous Joan of Arc (DeBoer., 2001). Gilles was believed to be a great sorcerer (Encyclopedia of Occultism;Parapsychology., N.D.). He is also considered to be Bluebeard from old nursery songs (Encyclopedia of Occultism;Parapsychology., N.D.). Bluebeard was associated with many horrible crimes and other atrocious things (Encyclopedia of Occultism;Parapsychology., N.D.). Gilles’ trial was in 1440 when he was also executed for his crimes (Holloway., 2001). His crimes were rape, Satanism, mutilation, sodomy,…
Charlie Chapman wrote and directed The Gold Rush, a 1925 American film. The producer and actor declared several times that this was the film he would like to be remembered. The film was silently powered, meaning that watchers had to pay undivided attention to capture the humor and the many aspects of comedy projected by Charlie. This essay explores the film The Gold Rush and how the film’s indications of early genre such as film, comedy, music and melodrama have helped develop and convey the film’s language and plot. The essay will also examine conventions available and how the film bucks our expectations of the genre.…
On the 14TH June 2012, we watched Blood Brothers, by Willy Russell, at the Phoenix Theatre. The play ‘Blood Brothers’ is set in 1980s Britain; it deals with numerous themes such as fate, the class system, insanity, superstition and division. The genres of the play are drama, tragedy & comedy-to an extent. Something I found particularly interesting was how the genre of comedy became less and less apparent as the play went on, whereas the genre of tragedy- became more and more apparent as the play went on-the opposite. The play was a musical.…
Humor is simply defined as “The quality of being amusing or comic, esp. as expressed in literature or speech.” In this paper a comparison of works one The Secret Life of Walter Mitty by James Thurber and the other is the play I’m Going a Comedy in One Act by Tristan Bernard. Both of these readings provide humor in to an audience but they are given in completely different fashion, in James Thurber’s work the most dominating of the literary elements that was used was imagination while Tristan Bernard in his work predominately used farce, although these are not the only aspects used in their work but these are the strongest in use in these stories. Humor is and always will be a well-known form literature that has successfully passed the test of time while earning many laughs from audiences along the way.…
D. I think the theme to this painting would be Politics and the Social Order because, the way Rabo describes the painting reminds me of Eugene Delacroix’s painting “Liberty Leading the People”. The picture in the potato barn is an enormous realistic painting of what the Karabekian’s experienced in World War II. Delacroix’s painting displays the Revolutionary war. Although the painting signifies liberty and justice unlike Rabo’s painting, it displays the suffering and realistic brutality of the war. Politics is largely involved in Rabo’s painting due to the presence of war and history of the war. Showing his involvement along with others to bring peace and societal independence which is part of what this theme is about. There is much social conflict in the painting, it demonstrates Rabo’s feelings and how many of his people truly suffered in this war scene.…
Why bring the readeralong for the ride only to leave him or her standing on the shoulder without a road map? Elam and Alexandercontributeto the collective shatteringof monolithic concepts of contemporaryAfrican-American dramaticrepresentation.Most importantly,they utilize dramaticnarrativeas a necessarysubstitutionfor deconstructingnotions of "objective" historicalproclamation(an objectivehegemony they associate with a dominantwhite culture)and instead assign for African-American playwrights and performersthe titles of historian,critic,and voices such as subjecttraditionallyassociated with non-African-American BertoldBrecht,William Shakespeare,George BernardShaw, EdwardAlbee, Henry David Hwang, Tony Kushner,and others. playwrights. I You will notice my deliberateomission of African-American suppose you could say that I am following Elam'smodel, for not only does he fail to convey with precision and ease the intricatephilosophicaland historical arguments generally associatedwith postmodern literaryand criticaldiscourse-the ideological dislocations,narrativereconfigurations, linguistic and syntacticalflourishes which empower and constituteemerging voices-but Elam also delinks his anthology (tacitlyor somewhat deliberately)from the very history it attempts to rewrite,reacquire,and ultimatelycelebrate-namely, the painstakinglyslow African-American externalreconstitution(BlackArts especially)…
Genre is the French term for type, or class of composition. It is the classification of literary works according to common conventions and elements of content, form, or technique so as to prevent audiences from mistaking it for another kind. Today, traditional genres are being adapted to suit modern context to better represent the values and beliefs of modern society. The gothic horror genre is an example of a genre that has been adapted to remain relevant and suit modern context through the subversion of its canonic conventions and the incorporation of modern values. Mary Shelley’s canonic text ‘Frankenstein’ and Robert Zemeckis’ modern film ‘What Lies Beneath,’ are both examples of traditional and modern adaptations of the gothic horror genre. The novel, ‘Frankenstein’ contains the hallmarks of a canonic gothic horror text, and represents the context and values of the time that the genre was developed. The film ‘What Lies Beneath’, however, contains subversions to incorporate the feminist rhetoric but still retains the hallmarks displayed in ‘Frankenstein’.…
Characteristics of genre: The comedy of manners genre became famous in England in the Restoration period. The genre is typically set in the world of the upper class and ridicules the pretentions of those who consider themselves socially superior with satire. The genre comments on the standards and mores of society and explores the relationship of the sexes. Marriage is often a frequent subject of this genre.…
* Schatz, T. (1981) “film Genres and the Genre Film”, in Hollywood Genres. New York: Random House, pp. 14-41.…
Christopher Durang’s “For Whom the Southern Belle Tolls” and Neil Simon’s Brighton Beach Memoirs prove that parodies are a transformative use of the originals, Tennessee Williams’s The Glass Menagerie and A Streetcar Named Desire. The difference in the character’s personalities demonstrates how parodies can be seen as independent works.…
Linda Hutcheon, Narcissistic Narratiue: The Metafictional Paradox. Methuen, London, 1984. 162 pp. Metafiction is now recognized as the designation of a kind of fiction - beginning to proliferate in the 1960s - that turns its attention on its own narrative andlor linguistic identity. Too often, critics have one-sidedly labeled it as an example of the anti-novel, a reaction against the teleological realistic tradition. Its self-reflectiveness has also been denigrated as a sign of exhaustion for the novel genre: no new fields seem left to develop and therefore it has turned inward upon itself. Some critics would argue that in metafiction the life-art connection has been severed or even denied, that the narcissism is a nihilistic exposure of previous illusions about a correlation between literary language and reality. Patricia Waugh's and Linda Hutcheon's books represent two recent contributions towards a revaluation of metafictional self-consciousness. Both suggest that there is no basic contradiction betwen auto-representational art and life. Fiction is not an aberration, for reality itself is a "book" circumscribed by culture and ideological concepts. In light of the theories of Derrida and associate poststructuralists, the mind is as much a product of language as a producer of language. Composing a novel becomes little different from construing one's 'reality7. Choosing this point of departure, Patricia Waugh points out the valuable prospects which metafiction opens up. Through parody and inversion of conventional patterns, the novel resists interpretative closure and displays its condition of artifice. It turns the focus on the very processes by which cultural codes of perception induce semblances of reality. In this way, it most fundamentally explores the entangled relationship between life and fiction. If it is true that our knowledge of the…
Over the [course of 50 or so odd] years,. Known for his distinctive brand of comedy, the work of Blake Edwards, demonstrates the authorial stamp that is often referred to in theories of the auteur, resulting in a style or approach to cinema that could be described as ‘Edward-ness’. [He makes prominent use of his self-conscious manipulation of particular elements of film style and systematically arranges certain techniques used within certain films.…
| Style: the way an author portrays the story and describes events, objects, and ideas…